10 killer heavy metal album openers that should not be missed

As a long-time aficionado of heavy metal music, I must say that the journey through these tracks has been nothing short of exhilarating! The variety and evolution of this genre, showcased in these songs, is truly remarkable. From the raw power of Jinjer’s “Outlander” to the intricate complexity of Stone Sour’s “Gone Sovereign,” each song offers a unique perspective on metal music.

Can we have some fun by guessing a common connection between these five musicians? Let me list them: Metallica, Iggy Pop, Jane’s Addiction, Jethro Tull, and AC/DC. I’ll give you sixty seconds to ponder the answer. Meanwhile, let me share some interesting news: The phrase I started with is actually from the Saw movie franchise, and the eleventh installment of this series is set to be released in just under a year. It might not seem related at first glance, but stay tuned for more on that later. For now, let’s focus on figuring out the connection between these musicians.

35 years ago, in February 1989, five artists were competing for the first Grammy award acknowledging heavy metal as a significant genre. However, if you think that all of those bands are metal acts, let me clarify that the Academy did not have a separate category exclusively for metal. By this time, metal had been an essential part of popular music for over two decades, but the Academy grouped it together with “hard rock” in a broader category to recognize both genres.

By not previously defining “hard rock,” many fans considered this move as a late acknowledgment of metal’s importance in both artistic and commercial aspects, which surpassed traditional rock & roll by the end of the ’80s. Most of us believed that Metallica, who were leading figures in the metal genre at the time, were clear favorites for the recognition.

10 songs that set the tone for excellent heavy metal albums

It didn’t occur. Neither did it belong to Iggy, the progenitor of proto-punk who significantly influenced metal. Nor to Jane’s Addiction, NKOTB (New Kids on the Block), whose debut album was shaping a newer alternative metal genre. Also not with AC/DC, one of the greatest unadulterated hard rock bands in history.

Surprisingly, it was Jethro Tull who received the first Grammy for metal music, a category that left many puzzled as to why they were even nominated. While it’s true that their early 70s hard rock records were exceptional and technically, this award was meant for hard rock bands, it’s important to note that their album “Aqualung” was released nearly two decades prior. During the years that followed, Jethro Tull had shifted focus towards progressive rock and pastoral folk, with Ian Anderson’s flute playing a significant role in these new genres.

Listening to just the initial minute of Tull’s acclaimed album “Crest of a Knave” might lead you to believe it’s a hard rock album. The opener, “Steel Monkey,” has elements of hard rock, but it’s softer than typical hard rock. However, the rest of the hour-long album, except perhaps for the near-final track, “Raising Steam,” is far from hard rock and does not belong to the metal genre at all.

As a metalhead, when I’m on the hunt for impressive album openers, I can see why some might argue that “Steel Monkey” should make the cut. However, personally, it wouldn’t be my pick. A powerful opening track sets the stage for what’s to come, and while “Steel Monkey” is a song I enjoy, it doesn’t deliver on that promise. It’s more of an average soft-hard rock tune, not typically associated with metal music’s most iconic beginnings. Regardless, Jethro Tull’s controversial Grammy win can be traced back to this track, making “Steel Monkey” part of a cursed album title in the annals of heavy metal history.

I won’t be opting for Lou Reed’s “Metal Machine Music, Pt.1”, the 16-minute symphony of chaotic sounds that graces side one of Reed’s infamous “Metal Machine Music” from 1975. Though I’m a diehard fan of Lou Reed, and the title promises metal music, it’s hard to deny that the initial reception saw it as some sort of twisted joke. Yet, over time, it has been reevaluated and now regarded as a seminal piece in the history of industrial music. Still, it doesn’t resonate as true metal music for me.

Of course, defining what exactly metal is has proven tricky. It shares impulses with hard rock, as well as with punk and prog rock. It has morphed into many spinoff genres since its birth in the late 1960s. I’m going to cast a wide net here and discuss ten awesome album openers that have all come from the world of metal. And, in a long-standing tradition that is now more than three days old, I will be adding one extra-super-secret bonus emeritus selection. When I did the punk rock opener list, that emeritus pick was “London Calling,” and I announced it in the intro. Rookie mistake. To find today’s metal emeritus, you will need to read to the end.

Hint: it will not be a Jethro Tull song.

“War Pigs” by Black Sabbath (1970)

Black Sabbath could not be considered the very first metal band, but they were undeniably the pioneers who significantly contributed to the growth and recognition of the genre in its infancy. Their debut album kicked off with the track “Black Sabbath,” linking heavy metal music to its dark, horror-like origins (as I mentioned earlier, the reference to the Saw series would ultimately prove relevant).

On their second studio release titled “Paranoid“, the track “War Pigs” expands its gaze and uncovers similar terrors that were previously delved into during their introspective debut. The guitar work by Tommy Iommi remains relentless, while Geezer Butler and Bill Ward’s rhythms persistently demand attention. Ozzy Osbourne’s vocals continue to echo his harrowing narratives. To be honest, you could pick almost any of the opening tracks from Black Sabbath’s albums, as they all start with a strong, powerful impact. “War Pigs” is no exception and stands alongside their other lead songs in this regard.

“Mr. Walking Drugstore Man” by Speed, Glue & Shinki (1971)

As a die-hard music enthusiast, I’ve got to share my thoughts on two bands that left quite an impact, albeit for different durations. Black Sabbath, a legendary act that ruled the airwaves for nearly four decades, cranked out 19 original albums and 13 box set collections. On the other hand, Speed, Glue & Shinki were around for just three years, managing to produce only two albums.

If you’re not familiar with those names, it might be due to them being from Japan, a place often unconnected with the metal genre. However, they had an American drummer named Joey Smith, whose vocals were reminiscent of Stevie Winwood if Stevie was recording in a different room with the doors closed. The band’s style typically combined elements of blues, progressive rock, and hard rock, similar to the 13th Floor Elevators, but their gritty bass line kept one foot grounded in early metal. Even after all these years, they continue to be worth giving a listen.

“Ace of Spades” by Motorhead (1980)

Can I just leave it at this – Motorhead is my favorite metal band, and “Ace of Spades,” both the song and album, is/are among the best that metal has to offer. All right – just a few more words to keep Google Analytics happy. Lemmy Kilmister had left (i.e., been kicked out of) Hawkwind in the late 1970s, so he formed Motorhead. They released four albums between 1977 and 1979 before Ace of Spades dropped right around Halloween 1980.

Eddie Clarke skillfully shreds on the guitar, albeit not as heavily focused on riffs compared to some of his peers, while Lemmy and Phil Taylor relentlessly drive the bass and drums respectively, showing no mercy. In terms of metal songwriting, Lemmy was already a renowned figure, but on “Ace of Spades,” he raised the bar even higher.

“Painkiller” by Judas Priest (1990)

Hmm, how should we approach the topic of Judas Priest? To many, they are the epitome of pure metal music, following closely behind bands like Sabbath in setting the genre’s foundation. They undeniably possess the talent, with Rob Halford’s powerful vocals and the unrelenting twin guitar work of K.K. Downing and Glenn Tipton. Yet, they have not always been universally admired. Some critics view them as derivative. Furthermore, during the 1980s, while they remained faithful to their metal roots, they experimented with contemporary sounds, incorporating synthesizers (a shock to some), which led some to believe they had temporarily lost some of their original edge.

The Painkiller album effectively allayed the fear, with its opening track, named similarly, blasting off like a cannon, propelled by Scott Travis’ rapid-fire drums. In true Judas Priest style, Halford and the guitars wail back and forth, sometimes blending indistinguishably. This marked a powerful comeback for the band.

“Stinkfist” by TOOL (1996)

The 1990s brought about significant transformations within the pop music scene. Hip-hop, grunge, and alternative genres were pushing traditional rock into unconventional territories. Commercial success was attainable for alternative styles, and bands like TOOL demonstrated that metal could venture into new realms without compromising its intensity. The track “Stinkfist,” opening the L.A. quartet’s second album Aenima, exhibits a grungy sound that gives it a contemporary feel. However, the music remains rooted in its heavy influences.

Numerous TOOL songs heavily feature Danny Carey, one of the greatest rock drummers, but “Stinkfist” is particularly notable for highlighting Adam Jones’ electrifying guitar skills. Maynard James Keenan composes suggestive lyrics that he sings with intense emotion. The line “Knuckle deep inside the borderline” encapsulates such glorious, visceral ambiguity, reflecting not just this song, but the entire album as well.

“The Wicker Man” by Iron Maiden (2000)

In another words, you might say: Didn’t you assume I wouldn’t remember Steve Harris, Bruce Dickinson, and the lads from Leyton? I merely held off until their 12th album, “Brave New World,” to bring them up. Vocalist Dickinson and guitarist Adrian Smith had parted ways with the band in the early ’90s as Maiden experimented with some progressive styles. They rejoined for “Brave New World.” Primarily, it was Smith who crafted the anthemic “Wicker Man,” which has become a hit among fans during live performances. Its raw intensity comes from the numerous guitars and Dickson’s powerful vocals.

As an ardent fan, I can attest that the chorus’ assurance of “Your time will come” truly resonates throughout the entire album. It was nothing short of magnificent – a masterpiece that Iron Maiden hasn’t produced in over a decade, and quite possibly the most outstanding from their more recent releases, rivaling even their ’80s classics.

“Blood and Thunder” by Mastodon (2004)

Originating from Atlanta, it’s likely the reason Mastodon incorporated “alt” into their metal genre label. I don’t disagree with this. However, I believe at some point, the term “alt” loses its significance. For over two decades now, Mastodon has consistently produced top-notch metal, whether it’s alternative or not.

The second album, titled Leviathan, was constructed around the ideas in Herman Melville’s Moby Dick. Its initial lines, “I sense someone is trying to take my life – Poisoning my blood and ravaging my mind,” foreshadow the madness that follows. The musicians all deliver strong performances as the album commences – Bill Kelliher’s fuzzy rhythmic guitar chords create an inviting atmosphere just before Brann Dailor’s drums start charging forward. They receive a vocal collaboration from Neil Fallon of Clutch, who resides nearby me according to rumors that I have confirmed. It is an exhilarating beginning to an album of grand dimensions.

“Gone Sovereign” by Stone Sour (2012)

For a short while, Stone Sour carved out a unique corner for themselves within the music industry. Their sound seemed to encompass both the essence and evolution of heavy metal. They possessed the ability to be harmonious, as well as raw and intense. They could croon sweet melodies or produce screeching tones. Drums often anchored their songs, but they also provided ample opportunity for their guitarists to show off their shredding skills.

The fourth album of ‘Gone Sovereign’ was released (however, due to changes in personnel, it wasn’t the same band as a decade prior), starting with the track “Gone Sovereign” that blends effortlessly into “Absolute Zero,” a song designed for heavy radio rotation. Both tracks are powerful, though “Gone Sovereign” might not be quite as catchy. Together, they set the stage for one of the top metal albums in the past two decades.

From the get-go, it’s all about the rhythm guitar assault, but Corey Taylor’s initial vocals are surprisingly gentle – even pretty. This sets the stage for a thrilling journey. As the opening verse winds down, Roy Mayorga’s drums pick up the pace. When we reach the end of the second verse, a fiery guitar solo takes over, accelerating the tempo even further. By the time “Gone Sovereign” concludes, I’m soaring, and there’s no stopping me now!

“Outlander” by Jinjer (2014)

A Ukrainian metal group, featuring a female lead vocalist, is an unbeatable duo, wouldn’t you agree? Tati Shmayluk, much like other progressive metal front singers, possesses an exceptional ability to switch between melodious singing and intense howling. “Outlander” showcases Jinjer in its most primitive form. This track initiates their first album and gained broader recognition as the band gained popularity toward the latter part of the 2010s.

Right off the bat, “Outlander” by Jinjer storms in with a fierce, swift guitar riff and a relentless rhythm section that sets the stage for Tatiana Shmayluk’s powerful vocals. She sings, she screams – the pattern repeats. The drums never falter, driving the song forward. Their latest single from the upcoming “Duel” album showcases Jinjer as a more refined and daring band, but it’s something about “Outlander” that feels essential, satisfying an innate craving within me.

“Diabolical Edict” by Brodequin (2024)

Occasionally, I enjoy revisiting vintage footage of elders criticizing Elvis Presley and The Beatles for corrupting societal values. It makes me ponder if those same youngsters shouting to “Love Me Do” back in the 60s could have imagined the emergence of death metal. Death metal is known for its extreme nature, but I understand why some might find its allure restricted. However, it’s undeniable that its most skilled artists can deliver a raw, exhilarating experience.

In the early 2000s, Brodequin, named after a medieval instrument of torture, was highly influential in the death metal genre. After vanishing for quite some time, they returned with an EP a few years ago. Following that, they released the album “Harbinger of Woe“, making it seem as though they had never actually left the scene.

Throughout their career, they’ve gone through multiple drummers, and listening to Brennan Shackleford’s performance on “Diabolical Edit,” it becomes clear why no person could sustain such long, fast, and powerful playing without experiencing a Spinal Tap-style explosion. If you find it difficult to make out the deeply buried, demonic vocals in the mix, don’t fret. It might be for the best not to know.

Indeed, as we discussed earlier, I did mention a special bonus pick, didn’t I? The song that has me leaning towards it is “Battery,” the opening track from Metallica’s album, Master of Puppets. Although “Blackened” from their subsequent album is enticing, especially marking the beginning of the Jason Newsted era, nothing beats Master of Puppets when it comes to classic metal records. And “Battery” is almost flawless as a starting track for that iconic release.

2024-11-14 14:01